Rafaela Netto is an architectural photographer working in São Paulo who is rated one of the top up and coming female visionaries in the industry. I wholeheartedly agree. She is a master of using framing to show off the environment of her projects, and each piece in her portfolio gives off an interesting sense of place.
Jennifer Hughes is a hometown hero of mine. A MICA graduate with a portfolio of rich and thoughtful images steeped in powerful lines and beautiful light, her style is undeniably recognizable. Jennifer's work spans across different genres, from hospitality to interior design, food, and the occasional bout of portraiture. No matter what she's shooting, it all carries the same beautiful painterly qualities that make her work iconic.
In part one we touched on the pre-production process for my book New Architecture Los Angeles. In today's article I'll tell you a little bit about the gear I used and how the day-to-day shooting process went. Spoiler: traffic. Lots and lots of traffic.
There are so many more facets of architectural photography than just shooting sublimely lit modern homes or hotel exteriors; in fact, even the most beautiful of those can start to feel a bit stale after a while. When I saw German photographer/designer Simone Hutsch’s minimal architecture photos, I couldn’t get enough of them.
For architectural photography, I highly recommend you buy and use a tilt-shift lens. Personally, I prefer Canon because I firmly believe they make the best. Tilt-shift lenses are brilliant because they allow you to correct perspective; which is extremely important for the kind of work we do.
Darren Bradley: TED talker, Dwell cover boy, global traveller and book author. Not bad for an architectural photographer! I met Darren a few years ago at an AIA award ceremony and instantly found him fascinating; so I couldn’t be happier to make this interview happen.
Starting a career in photography can be very challenging. I know that when I first started as an architectural photographer, I made a fair few mistakes that could have been avoided. Fortunately, those mistakes can serve as lessons for future architectural photographers.
On this fine Project of the Week, we're featuring Dave Kulesza's photographs of Mckimm's project #344 - The Howitt House. The first thing that catches my attention is the great tonal balance of this image. I love the warmth of the natural cedar contrasted by the cool concrete forms.
Architectural photography isn’t exactly the cheapest profession to get into. The amount of money that we invest in building this particular kind of business is significantly greater than many other genres of photography. Unfortunately, the current price of tilt-shift lenses doesn’t help very much in this regard.
One of the things that I’ve struggled with as an architectural photographer is managing color. This is especially true when shooting interiors because most interiors tend to have a wide range of different colors and shades. For a long time, I’ve been using the ColorChecker Passport and recently X-Rite released their new version 2; so I decided to cover this subject again.
A notorious sticking point for any photographer, the rush turnaround can be a great tool in your bag or it can turn into a living nightmare that threatens to create a rift between you and your client. Over the years I’ve been able to transition from the rush turnaround being a dreaded ‘ugh’ moment into something that is relatively effortless.
It’s April 18th. Your taxes are (hopefully) filed, the weather is great, and it’s time for Project of the Week! This week’s featured project hails from Hungary. Villa SZE was created by the architectural firm Tóth Project. I was immediately drawn to this series because of the way photographer György Palkó displays the colors and shapes throughout the home.
For some reason photographers are obsessed with being published, I am a photographer, ergo, am obsessed with being published. It feels good, it looks pretty, and it makes your photographs real, as in a tangible thing that other people hold and look at and say “wow” like Owen Wilson.
I saw this project by Singapore-based photographer Owen Raggett and immediately raised an eyebrow and mouthed “holy shi—“. It’s kind of mind-blowing from both an architecture and photography standpoint, and I couldn’t resist sharing Owen’s exemplary photographs of the project.
Brooke Holm has carved out a successful career for herself shooting exactly what she wants, where she wants, and the results are beautiful. She effortlessly blends personal fine art projects with interior and architectural commissioned works in a sublime and delicate style, becoming a highly sought-after photographer in markets around the world.
It’s a question I find myself explaining over and over again to aspiring photographers and it’s quite simply one of the most powerful tools available for improving the compositions and quality of your photography. It’s not even limited to architectural photography either, in fact artists and photographers alike benefit from taking advantage of the one point perspective.
Project of the Week for February 23rd comes to us out of Northern California. Named Granite Bay and set in a rolling California landscape, the project makes use of the site’s topography to soften its contemporary hard-edged appearance and reveal its size gracefully.
We’ve all been there and to deny it is just an outright lie. Whether it’s “can you just photoshop that” or “I promise the contractors will be gone by the time the shoot happens,” you’ve got to roll with the punches and over my career I’ve turned to humor to do so, otherwise someone would be scraping me off the floor of another five-over-one apartment somewhere.
There are really only two tripod heads to consider if you want to use the best of the best: the Arca Swiss D4 and the Arca Swiss C1 Cube. The worst thing about them is you’re spending over a thousand dollars on something that doesn’t actually make you a better photographer, but the best thing about them is that they make it so much easier to take pictures I don’t even know how I’d begin to go back to the cheaper options.
I’d love to pretend that this goes without saying, but it’s incredibly important to actually understand what our clients do in order to deliver the best possible images to them. There is so much more goes into interior design than just making a space “pretty,” especially when you are considering commercial, civic, and other large-scale projects.